漫畫展的語法：井上雄彥創作研究，2004-2014。

Abstract

90年代末，隨著漫畫之父手塚治虫（Tezuka Osamu, 1928-1989）的辭世，於日本民間發展了五十多年的劇情漫畫（ストーリマンガ），始受到公部門文化單位的矚目，不但是國家重點發展的媒體藝術之一，美術館當中也開始出現以漫畫為名的展覽。漫畫展固然作為一種新興的展覽類型，但美術館方對於漫畫進駐美術館場域的開放態度，始出自對於「企劃展」的需求，而其中的脈絡又可追溯自明治時期隨萬國博覽會傳入而興起的「美術展覽會」；另一方面，大正時期，美術雜誌與讀者共同交織出輿論型態的藝評，使「美術」的品評發聲並未孤立於學院當中，而與大眾文化十分親近，遂使今日漫畫得以共享其庇蔭，不僅以大眾文化之姿進駐美術館場域，並同時還能保有自主的發聲權。 漫畫展覽化的風氣方興未艾，不僅方向及目的各有不同，也尚未有較為具體的研究案例，本文作為藝術學研究論文，試圖就現階段的漫畫展進行分類描述，進而聚焦在能夠回應漫畫自身美學問題的、著重在漫畫表現實驗的展覽上。其中，漫畫家井上雄彥（Inoue Takehiko, 1967-），自2004至2014，十年之間已舉辦過三次漫畫展，不僅在文獻與實踐上相對充足，更能看到井上雄彥在不同階段，藉由展覽對於漫畫創作投射出不同的思考與回應。積極而論，展覽並非井上雄彥漫畫的附屬品，而是創作的形式之一，不僅彰顯出「漫畫展」的美學問題及其主體性，也得以開展出較為深入與全面的討論研究。本文將透過井上雄彥三個時期的三起展覽案例，分析其中表現操作的美學意義，並藉此重新爬梳日本漫畫文化與藝術場域之間的關係。鑑於國內在面對漫畫及其相關文化時，過度著眼於圖像品味的偏狹論述，窄化了漫畫與當代藝術關聯的討論空間，期待藉此能為台灣的評述或創作現狀，提供一種較為寬廣的參照視野。

Following the death of the Father of manga Tezuka Osamu (1928-1989) in late 1990s, Story manga, which have prevailed in Japan public over than fifty years, started attracting the official department's attraction. It not only became one of important state-promoting art media, but also appeared as form and title of exhibitions in museums. Museum open to manga, regardless of its status as a new exhibition form. This attitude is because the necessary of “Planning exhibition” which can dates back to “Art exhibition” which was introduced and thrived in in Meiji period. On the other hand, resonating with art critics and their readers, new public-oriented art critiques emerged in art magazines which leads art critiques close to the general rather than isolating in academies. Being blessed with this phenomenon, today’s manga not only enters to museum by its popularity but preserves its autonomous power of voice.

Turning manga into exhibition mushrooms nowadays. Not only does these exhibitions have various aspects and purposes, but few concrete study discusses on them. Being a dissertation of art study, this research manages to describe and categorize manga exhibitions at present stage which aims focusing on problems of manga’s aesthetic itself and stresses on experimental dimension of manga exhibitions. Spanning from 2004 to 2014, manga artist Inoue Takehiko (1967-) already held three manga exhibitions in a decade. Not merely abundant documents and practices but keen thinking and responses are witnessed in his exhibitions at different creating stages. Actively saying, exhibition is not adjunct to Inoue’s manga, rather, is one of his creating forms which not only highlights the aesthetic problems of ‘manga exhibition’, but also develops comprehensive studies in depth. Exemplifying three exhibitions of Inoue in different periods, this dissertation analyzes aesthetic meaning in manifestation and reexamines relationship between Japanese manga and art field. Over emphasizing in narrow discourse of image taste, domestic studies restrict the discussible space which relates to manga and contemporary art when they deal with manga and its culture. This study anticipates improving the present situation of discourses and creations by providing a broader scope as well as beneficial references.